
Two men, Fat and Roberto, are both married and unhappy. Together they make diverse plans to murder their wives.
Does 100 Ways to Murder Your Wife have end credit scenes?
No!
100 Ways to Murder Your Wife does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of 100 Ways to Murder Your Wife, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Alan Tam

Kenny Bee
Roberto

Wu Ma
Ma

Anthony Chan Yau
Chen Chih Tao

Bennett Pang Kin-San

Chow Yun-Fat
Soccer Fat

Danny Yip Chi-Keung

Raymond Lee Wai-Man

Joey Wong Cho-Yin
Hsiao Hsien

Anita Mui Yim-Fong
Fong

Wan Chi-Keung

Shing Fui-On
Soccer Player

Sin Woon Ching

Shing Fu-On
Fa's Football Teammate

Annabelle Louie
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Read the complete plot summary of 100 Ways to Murder Your Wife, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Two acclaimed football stars, Roberto Kenny Bee and Football Fa Chow Yun-Fat, cross paths in a dimly lit Hong Kong bar one night, each carrying the weight of a troubled personal life. Roberto is a highly rated striker for a popular team, while Fa is a star goalkeeper whose on-field grace clashes with turmoil off the pitch. Over a few drinks, they trade compliments and begin to open up about the pressures at home: Roberto’s wife, Anita Anita Mui Yim-Fong, constantly nags him and even designs outrageous outfits that she insists he wear, while Fa is consumed by jealousy regarding his beautiful wife and her popularity among his teammates. The conversation reveals two men who feel cornered, not by the scoreboard, but by the lives awaiting them outside the locker room.
In a drunken, reckless moment, they hatch a plan to rid themselves of their wives, each hoping the other can shoulder a heavy burden with the least personal risk. Fa seems to have achieved a grim success when he goes to Roberto’s house and wakes up convinced he has carried out the deed. In a cruel twist of fate, Roberto’s wife has left, thinking her husband is with another woman. The misunderstandings remain hidden for now, and Fa, shaken by the idea of being a murderer, urges Roberto to return the favor and help erase the other man’s wife from the equation. What follows is an elaborate series of ideas—half-baked, misguided, and fraught with fear—designed to carry out this dubious goal and to slip away from blame unscathed.
As the night unfolds, the two men navigate a dangerous web of plans and miscommunications, each step dragging them deeper into morally murky territory. The barroom confidences give way to a chain reaction of actions and reactions, where a moment of bravado morphed into tense improvisation, and where the line between truth and fabrication becomes increasingly blurred. The plot threads pull in new directions, testing loyalties and exposing the vulnerabilities that drove them to seek such drastic resolutions in the first place. Throughout, the film maintains a steady, neutral tone that invites the audience to weigh the consequences of fear, pride, and misguided camaraderie, even as it leans into darkly comic misunderstandings and the precariousness of getting away with anything in a world where every choice has a price.

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